Abstract. The Transylvanian Late Medieval
churches, like those in the west, were not integrally painted, with disparate votive
or devotional images taking the place of the old hagiographic cycles,
reflecting the indulgences and tradition of the Catholic Church. In this
context, only a number of chapels preserve coherent ensembles: Hărman, Mediaş
and Biertan. The program from Hărman stands as a mark for the iconography with
the themes: Jesus in the midst of His Church with Apostles and Prophets bearing
verses from the Creed (to the east), the Last Judgement (to the west), the
Glorification of the Virgin Mary (in the center). Other ensembles including the
Apostles’ Creed were also depicted in Mediaş (both church and chapel), Sânvăsii
and Suseni (now lost). The Last Judgment, the most spread theme of the time is
completed inside the chapel in Hărman with the Works of charity and the Parable
of the poor Lazarus. Fragments are also preserved on the triumphal arch of St.
Nicholas church of the same architectural ensemble above the later vault, in
Mediaș (St. Margaret church, exterior), Apold, Chimindia, Bâra, Cetatea de
Baltă, Sighișoara (with the personifications of the capital sins and the Limbo
of the Children), Băgaciu (with a Purgatory prison). The Parable of the Ten
Virgins, painted in the inner splay of the entrance from Hărman, is a further
argument for the iconography of the chapels reproduced, in general terms, the
iconography of the sanctuary of the churches, as in Sânvăsii, Suseni (known
from the watercolour copies and old photos) and, in the earlier ensembles from
Apold or Nemşa. The association of the Last Judgment, as «the end of time» with
the «beginning of time», illustrated by scenes from the life of Virgin Mary, is
represented in Biertan (Annunciation, the Adoration of the Magi) and Hărman
(Annunciation, Defensorium Mariae, Crowning, Dormition). In Braşov and Bratei, the scene of the
Annunciation was depicted too. the Evangelist – was also painted on the
exterior at Delniţa and Mediaş chapel, with the donor), while individual
Passion scenes, inspired by the “Seven
Falls” of Christ, are
preserved at Târgu Mureş and Sântimbru-Alba.

The main
themes of the late Transylvania murals show
that beyond the changes of the artistic means of expression contamined by the
Renaissance, the art of the voivodate remains even after 1500 faithful to the
traditional iconography, reflecting the medieval thinking and mentality.

Quacks, Charlatans and Snake-oil Salesmen: Doctors and Medicine
in Early British Cartoons and Caricature

Abstract. Doctors and medicine were a frequent subject for
satire by early British caricaturists. Whether genuine pioneers of health cures
such as Edward Jenner, who promoted vaccination to prevent smallpox, or the
many bogus physicians, dentists, oculists, apothecaries and other charlatans
who proliferated in the eighteenth and early nineteenth centuries, none could
escape the witty and acerbic pens of James Gillray, Thomas Rowlandson, George
Cruikshank and their fellow printmakers.Keywords: caricature, doctors-medicine, Hogarth,
Gillray, Rowlandson, Cruikshank